The text theatrical Dom Juan of Molière, when being staged in Brazil, in 1970, by
Fernando Peixoto, in the Officinal Theater in São Paulo, and recovered by the occupation
historian, he becomes point illuminator of the past. In a first moment of the research, we
believed that to analyze Brazil of that period and to think on the established dialogues
between Art and Society would be enough. Though, the multiple possibilities that the
theme provoked they enlarged those scanty established limits.
Under this prism they are objectives of this job: to think the historic Dade inherent
to the translation accomplished by Fernando Peixoto and your motivations intellectual and
esthetics; to contemplate on the scenic elements that turned the theatrical text written in the
century intelligible XVII to Brazil of the century XX; to understand the relationship
past/present and as this " updating " it becomes possible; to study the scene and the
dialogue between History and Aesthetics; to apprehend the possibilities of the theatrical
text, that are besides your creator's imagination (Molière) and of the Brazilian engender
(Fernando Peixoto) and, finally, to understand why this character becomes myth and stays
at length in the history.
The research is justified and it is legitimated once it brings for the debate Art and
History a problem to be solved. The text theatrical Dom Juan is recovered in a historical
time different from yours and, even so, it gets to be interesting for the attendance. At the
same time in that could answer that it is due to the updating and insert of elements that turn
it contemporary, we cannot ignore the fact that the work of Molière stays present in the
staging in 1970. Like this, the problem notices in what it plays to the historic Dade of a
work that is not temporal, but that stays in the historical continuity to the point of
becoming myth.